@prefix dctype: <http://purl.org/dc/dcmitype/> .
@prefix foaf: <http://xmlns.com/foaf/0.1/> .
@prefix ore: <http://www.openarchives.org/ore/terms/> .
@prefix rdf: <http://www.w3.org/1999/02/22-rdf-syntax-ns#> .
@prefix rdfs: <http://www.w3.org/2000/01/rdf-schema#> .
@prefix owl: <http://www.w3.org/2002/07/owl#> .
@prefix skos: <http://www.w3.org/2004/02/skos/core> .
@prefix xsd: <http://www.w3.org/2001/XMLSchema#> .

@prefix berg: <http://onto.grayspread.net/bergsonica#> .
@prefix gs: <http://onto.grayspread.net/grayspread#> .
@prefix hvb: <http://onto.grayspread.net/hildegardens#> .
@prefix sonn: <http://onto.grayspread.net/sonnabendit#> .


## TYPES ##

berg:Image
    a rdfs:Class ;
    skos:prefLabel "Image"@en ;
    skos:scopeNote
        """> Here I am in the presence of images, in the vaguest sense of the word, images perceived when my senses are opened to them, unperceived when they are closed. All these images act and react upon one another in all their elementary parts according to constant laws which I call laws of nature, and, as a perfect knowledge of these laws would probably allow us to calculate and to foresee what will happen in each of these images, the future of the images must be contained in their present and will add to them nothing new.

"""@en ;
.

berg:Movement
    a rdfs:Class ;
    skos:prefLabel "Movement"@en ;
    skos:scopeNote
        """> […] the aim of Judo is to catch and demonstrate quickly the ‘living laws of motion’ occurring in not-yet-anticipated movement of the opponent's body.

*A book lined with Judogi fabric*"""@en ,

        """> […] even in the animal it is possible that vague images of the past overflow into the present perception; […] but this past does not interest the animal enough to detach it from the fascinating present, and its recognition must be rather lived than thought. To call up the past in the form of an image, we must be able to withdraw ourselves from the action of the moment, we must have the power to value the useless, we must have the will to dream. Man alone is capable of such effort.

*A book that I started reading 4 times*"""@en ;
.

berg:Body
    a rdfs:Class ;
    rdfs:subclassOf berg:Image ;
    skos:prefLabel "Body"@en ;
    skos:scopeNote
        """> Psychologists who have studied infancy are well aware that our representation is at first impersonal. Only little by little, and as a result of experience, does it adopt our body as a center and become *our* representation. The mechanism of this process is, moreover, easy to understand. As my body moves in space, all the other images vary, while that image, my body, remains invariable. I must, therefore, make it a center, to which I refer all the other images.

*An instinct purchase at a used book website*"""@en ,

        """> What is, for me, the present moment? The essence of time is that it goes by; time already gone by is the past, and we call the present the instant in which it goes by. No doubt there is a real present — a pure conception, the invisible limit which separates past from the future. But the real, concrete, live present — that of which I speak when I speak of my present perception — that presence necessarily occupies a duration. […] The physical state, then, that I call "my present", must be both a perception of the immediate past and a determination of the immediate future.

*I actually was proud of myself to get this far in this book*"""@en ,

        """> The body is an image of the mind,
> which like an effulgent light scattering forth
> its rays, is diffused through its members and senses,
> shining through in action, discourse, appearance, movement—
> even in laughter, if it is completely sincere and tinged with gravity.

*Big-shot quote on the last page of a book, which I almost missed*"""@en ;
.


gs:Relic
    a rdfs:Class ;
    skos:prefLabel "Relic"@en ;
    skos:scopeNote
        """*Relic and Gesture* was an action performed by the author in 2014 as an assignment during a Visual and Critical Studies class led by Joseph Grigely. The action consisted in asking class mates to bring an object close to their affections into the class on a specified day. The object would be placed on a table and photographed with a pinhole camera. The film would be then developed and frames of the film containing each object would be given to their owners, with the request that they would send the author a digital reproduction (photograph, scan, etc.) of their film fragment later.""" @en ;
.


gs:Spectacle
    a rdfs:Class ;
    skos:prefLabel "Spectacle"@en ;
    skos:broader gs:Relic ;
    skos:scopeNote
        """> And the person or thing photographed is the target, a kind of little simulacrum, any *eidolon* emitted by the object, which I should like to call the *Spectrum* of the Photograph, because this word retains, through its root, a relation to "spectacle" and adds to it that rather terrible thing which is there in every photograph: the return of the dead.

        *A college throwback.*"""@en ,

        """> A document is the relic of a relic, one degree further removed from the reality that generated an artifact or action.

        *Notebook*"""@en ;
.

## PROPERTIES ##

hvb:convergedInto
    a rdf:Property;
    skos:prefLabel "Converged Into"@en ;
    skos:altLabel "Fan-In"@en ;
    rdfs:domain berg:Image ;
    rdfs:range berg:Movement ;
    skos:scopeNote
        """> […] personal recollections, exactly localized, the series of which represents the course of our past existence, make up, all together, the last and largest enclosure of our memory. Essentially fugitive, they become materialized only by chance, either when an accidentally precise determination of our bodily attitude attracts them or when the very indetermination of that attitude leaves a clear field to the caprices of their manifestation. […]
>
> Past images, reproduced exactly as they were, with all their details and even with their affective coloring, are the images of idle fancy or of dream: to act is just to induce this memory to shrink, or rather become thinned and sharpened, so that it presents nothing thicker than the edge of a blade to actual experience, into which it will thus be able to penetrate.

*That boring book, yet again.*"""@en ,

        """> It happened in the year 1141 of the incarnation of the Son of God, Jesus Christ, when I was forty-two years and seven months of age: the glow of a powerful flash of lightning coming from the sky, which had opened up, penetrated my brain and inflamed all of my heart and my breast, like a flame that does not burn, but instead warms, like the sun warms what is touched by its rays […]

*A timely one*"""@en;
.

sonn:leftBehind
    a rdfs:Property ;
    skos:prefLabel "Left Behind"@en ;
    skos:altLabel "Fan-Out"@en ;
    rdfs:domain berg:Movement ;
    rdfs:range gs:Relic ;
    skos:scopeNote
        """> We, amnesiac all, condemned to live in an eternally fleeting present, have created the most elaborate of human constructions, memory, to buffer ourselves against the inolerable knowledge of the irreversible passage of time and the irretrievability of its moments and events.

Geoffrey Sonnabend, *Obliscence: Theories of Forgetting and the Problem of Matter*, 16. Cited in Worth, 1991, 64."""@en ,

        """> All living things have a Cone of Obliscence by which the being experiences experience. This cone is sometimes known as the Cone of True Memory (and occasionally the Characteristic Cone).Sonnabend speaks of this cone as if it were an organ, like the pancreas or spleen, and like those organs, its shape and characteristics are unique to the individual and remain relatively consistent over time.
>
> […] When [an intersection between the Cone of Obliscence and the Plane of Experience] occurs, a three-tier series of events ensues, which (from our perspective) would be described as:
>
>    (1) being involved in an experience
>    (2) remembering an experience
>    (3) having forgotten an experience.

Worth 1991, 65-66."""@en ,

        """> "Forgetting" is simply the rejoining of our private property with the public domain in a gradual fashion.

*Notebook*"""@en ,
        """> To make a sculpture, first you make a sculpture, then you roll it down a slope. What remains is the sculpture.

*Pinuccio Sciola, some time between 1994 and 1998*"""@en ;
.


gs:initiated
    a rdf:Property ;
    rdfs:domain berg:Body ;
    rdfs:range berg:Movement ;
    skos:prefLabel "Initiated" ;
    skos:scopeNote """
"""@en ;
.

#"""> In this sense the individual mythologies at Kassel are the alternatives that art presents time and time again. They are individual attmpts to confront broader disorder with personal order. Those who refuse to see this will always flip the relationship and insist that they are introducing a personal disorder to the tacitly accepted broader order. Those who see it this way will always succumb to the seductive, the edifying, the persuasive image. […]
#
#Harald Szeeman, *Individual Mythologies*, in *Selected Writings*"""@en ;
